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Megan Thee Stallion released a new album on Friday (June 28), and some fans seem to think she taking shots at Nicki Minaj on a couple of tracks.
The two have beefed before, with Nicki Minaj releasing the diss track “Big Foot” earlier this year as an answer to Megan’s “Hiss,” the latter of which hit No. 1 on the Hot 100 and serves as Megan‘s intro track. That’s important to note, because fans think there are subs aimed in Nicki’s direction on the very next song, “Rattle.”
She doesn’t waste time, rapping, “Ain’t got no tea on me, this ho think she TMZ” as soon as the song begins. Nicki had a rant on the end of “Big Foot” where she starts by saying, “Now listen up, Big Foot. You know I got a lotta tea. I went easy on you.”
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Elsewhere on “Rattle,” Megan appears to take aim at Minaj again.” “Damn, b—h, it been four years/ Worry ’bout your man and your kid,” she spits. “Your life must be borin’ as f—k if you still reminiscin’ ’bout s—t that we did.”
Those bars appear to be referring to her collab with Nicki “Hot Girl Summer” and her collab “WAP” with Cardi B, which came out in 2019 and 2020, respectively. This is around the time Nicki and Meg’s relationship started to change. She ends the verse with, “And I ain’t worried ’bout the bitter b—h link up/ Y’all h—s earned them seats in the fan club,” possibly referring to JT, BIA, Maliibu Miitch, Katie Got Bandz and Akbar V coming out to perform the “Super Freaky Girl (Queen Mix)” during Nicki’s Pink Friday 2 World Tour.
On the next track “Figueroa,” Megan raps “I’m a motherf—n’ Brat, not a Barbie/ On go with any b—h that wanna start it.” Fans immediately pointed out the diss, since Nicki’s fans are commonly known as the Barbz.
With this beef getting put back on the grill, fans are asking if Nicki Minaj should be put on a clock the way Kendrick was put on one after Drake released “Push Ups.” Check out just a few of the fan reactions to Megan’s newest bars below:
Go tf AWF Meg!!!!!!! 🔥🔥“Damn bitch it’s been 4 years, worry bout your man and your kid” “ And I ain’t worried bout that bitter bitch link up, y’all hoes earned them seats in the fan club” #RATTLE #MEGAN pic.twitter.com/cVK219jjmu— 𐚁LEVII’S JEANS🤍 (@JTAMUSIC1) June 28, 2024
Megan said she a motherfucking Brat not a BarbieShe don’t have to say names she is making it very clear— Against all odds (@MelaninKy92) June 28, 2024
The funniest thing megan said was that she’s a brat not a Barbie like Bratz didn’t get discontinued and stomped on by Barbie 😭— wingstop is a VERY popular food chain boo (@paraparaNicki) June 28, 2024
Kendrick Lamar and pgLang’s Juneteenth Pop Out concert continues to have a positive ripple effect on Los Angeles. Not only did the DAMN. MC unite the city’s musical talents for a memorable one-night affair, but his altruism also rang through, courtesy of the $200,000 donation he, pgLang, Tim Hinshaw’s Free Lunch and participating artists made to 20 L.A.-based charities and city community initiatives.
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“We haven’t seen this type of Unity on the West since we lost our brother Nipsey Hussle,” owner of Free Lunch, Tim Hinshaw, tells Billboard. “As Dot said on stage, this moment was bigger than a back and forth; it was about supporting each other and showing the world that we could come together for a greater cause. All of these organizations play a pivotal role in the development of our community and the hope is that we all continue to support them moving forward.”
Amongst the 20 charities and community initiatives is the Compton G.irls Club. “We would like to thank pgLang and Free Lunch for recognizing their roots and supporting g.irls from the hood. It’s refreshing to know that Kendrick always comes back to the community to support the next generation,” says Chrystani Heinrich, founder & executive director of Compton G.irls Club.
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Lamar’s Pop Out concert brought some of L.A.’s biggest names, including Dr. Dre, Tyler, the Creator, Ty Dolla $ign, Steve Lacy, Mustard and more. Mustard, who shared a performance slot that night with Lamar and DJ Hed, expressed his pride in Lamar and the city to Billboard.
“The Pop Out concert had a significant impact on the city, unifying West Coast hip-hop, providing a platform for emerging talent, celebrating Black culture, and revitalizing the local music scene,” says Mustard. “It garnered global attention but also allowed us artists to give back to different programs based around South L.A. and put L.A. back in the driver’s seat for music, something that’s been long overdue.”
Below is a list of all the respective charities, along with the complete lineup of guests who appeared at The Pop Out on Juneteenth.
Alma Backyard Farms – almabackyardfarms.com
Boys & Girls Clubs of Carson – bgccarson.org
Boys & Girls Clubs of the Los Angeles Harbor – bgclaharbor.org
Brotherhood Crusade – brotherhoodcrusade.org
Color Compton – colorcompton.org
Compton Advocates Coalition – comptonadvocates.org
Compton G.irls Club – comptongirls.club
DREAMHAUS LA – dreamhausla.org
Friends at Mafundi – friendsatmafundi.org
It’s Bigger Than Us – itsbiggerthanusla.org
Love + Ethos – loveandethos.org
Peace4Kids – peace4kids.org
Safe Place for Youth – safeplaceforyouth.org
Sisters of Watts – sistersofwatts.org
Social Justice Learning Institute – sjli.org
Fernando Pullum Community Arts Center – pullumcenter.org
The Hidden Genius Project – hiddengeniusproject.org
Thinkwatts Foundation – thinkwattsfoundation.org
Tommy The Clown Foundation – tommytheclown.com/ttc-foundation
Unearth & Empower Communities – unearthandempower.org
Full Lineup of Guests:
310babii
AZCHIKE
Bino Rideaux
Black Hippy (Ab-Soul, Jay Rock, Schoolboy Q)
BlueBucksClan
Blxst
Cuzzos
DJ Hed
Dom Kennedy
Dr. Dre
Jason Martin
Jay Worthy + Meet The Whoops
Kalan.FrFr + G Perico
Kendrick Lamar
Mustard
OHGEESY
Ray Vaughn
Remble
RJMrLA
Roddy Ricch
Rucci
Steve Lacy
Tommy the Clown
Ty Dolla $ign
Tyler, the Creator
Wallie The Sensei
Westside Boogie
YG
Zoe Osama
“Don’t let no one tell you what you cannot do!”
So declared Ronald “Slim” Williams as he and his brother, fellow Cash Money co-founder/co-CEO Bryan “Baby” Williams, accepted YouTube Music’s Leaders and Legends Award. His comment also reflected the vibe that resonated throughout last evening (June 27) as the music industry celebrated the venerable label’s 30-year (and counting) legacy.
Guests arriving at Hollywood’s nya Studios West for YouTube’s second Leaders and Legends gala were greeted by a lively five-piece band (including a tuba) in homage to the brothers’ New Orleans roots. Black tie was in full effect as attendees imbibed specialty drinks like the tequila-laced Hurricane and visited a couple of booths featuring various mementos including Cash Money-logoed bank bags with T-shirts inside. To enter the venue itself, guests walked through a replica of a back-in-the-day record store featuring Cash Money “records, tapes and goods.” A huge, glittery Cash Money dollar sign was positioned on one wall behind album crates, while album covers chronicling the label’s storied history adorned another wall.
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Kicking off the festivities inside was a string of video montages that colorfully depicted Cash Money’s evolution from a fledgling disruptor to Southern hip-hop icon. Integrated in between were tribute clips featuring Universal Music Group chairman/CEO Sir Lucian Grainge (who values the Williamses’ “loyalty, warmth and humor”) as well as onstage salutes from the likes of producer/friend Polow da Don, BMI vp of creative Catherine Brewton, longtime Cash Money attorney Vernon Brown and UMG general counsel/executive vp of business and legal affairs Jeffrey Harleston. After noting that Cash Money is the “longest-running Black-owned label ever,” Harleston added that Baby and Slim taught him three important lessons: “Never forget where you’re from, never forget who your people are and bring them along on your journey.”
While Lil Wayne was spotted in the house along with LL Cool J, among others, there were no live performances. But music was a central force during the evening thanks to a rousing pre-dinner interlude helmed by DJ Trauma as the audience danced and rapped/sang along. They also took home Cash Money Forever cassettes and keychains (that when placed on cell phones provides a link to the music). The 25-track playlist features hits by Lil Wayne, Juvenile, Drake, Nicki Minaj and more.
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Just as rousing were the salutes paid by Republic Records’ chief executives Avery and Monte Lipman plus YouTube’s global head of music Lyor Cohen. Avery’s comments addressed Cash Money’s success over the years: more than 300 Hot 100 hits, with 41 top 10s and seven No. 1s, plus 80 Billboard 200 albums, including 15 No. 1s. He also reflected on his and Monte’s long relationship with Baby and Slim, saying in part, “The Lipman brothers started about the same time as the Williams brothers and we kind of thought we were hot stuff. Then along came Baby and Slim … These guys revolutionized the industry, music culture and even changed our vocabulary by having the word ‘bling’ added to the Webster dictionary. I also saw firsthand their true superpowers: how they could literally manifest things into real life without any fear hesitation and always with a clear intention.”
In his remarks, Monte noted, “The lessons we’ve learned from both Birdman and Slim as our mentors is forever in our DNA and have become part of our daily culture … I can’t remember having one conversation with Slim where he didn’t ask me, ‘What do you think?’ He always crystallized the importance of curiosity, patience, flexibility, and the value of saying no. Baby to this day continues to reinforce the importance of artist integrity, strategy, timing. He’s the consummate field general. But undoubtedly one of my favorite lessons from Birdman was simply never forget that we’re in show business.”
Cohen, who presented the award to the brothers, opened by saying, “A lot of people don’t understand how difficult it is to actually build a business, a sustainable business. But you have to do the work. That’s it. That’s what Leaders and Legends is all about: actually doing the work … Everybody thinks that you can do a shortcut to fame and fortune; [there’s] no such thing. You have to have really great music and you have to put in the work. That’s why I’m so thrilled to invite you, Baby and Slim, to the stage to accept this honor. And would everybody in this room please stand up and pay some f–king respect?!”
Indeed, the audience stood up for the entirety of Baby and Slim’s acceptance speeches, heartily applauding at various intervals. After thanking the room, Baby began by recalling his and Slim’s childhood in New Orleans. “Life wasn’t easy for us; living in every project in New Orleans. I was a real lost youngster trying to find a way because I’d been in and out of homes, in and out of jail, jumped in the streets at 12 years old; at 14 years old, I was wearing two Rolexes. I met some youngsters and didn’t want them to go my route, right? [Cash Money rapper] B.G. was hitting that route, and I saw that [Lil] Wayne looked like he was going that route too. I wanted to save their lives. My whole mission was to try to spare a life. And I needed help too because I was reckless. The only person that I respected enough to spare my life was my brother. And my way of saving their [B.G., Lil Wayne] lives was putting them in the studio. The studio was going to be the new streets.”
Continuing, he added, “But all due respect to Jay-Z, I remember when he said he retired and Wayne shot a video and said since the best rapper retired, I’m the best rapper alive. And a lot of sh-t changed for us from that moment. At the same time n—as were saying hip-hop is dead. And we’re like honestly, what the f–k is they talking about? We ain’t know nothing about that type of sh-t. So we felt like this was our time to take over hip-hop. That’s when the birth of Young Money came, Nicki and Drake came. We kind of held hip-hop down. We survived the warfare in New Orleans. Now we’re surviving in life, and we did a great job at it. [When] we started, all I thought about was saving four lives, and we end up saving thousands of motherf–kers’ lives. I give all gratitude to my brother, who was like my father, for saving my life.”
Picking up where his brother left off, Slim said, “I want to say that I’m so proud of Juvenile, Wayne, [Mannie] Fresh because I saw them when they was in that studio. They were in friendly competition with each other. We started off doing two songs and would end up doing five songs a night. They were there competing like a basketball player for real. But what really makes me so proud that they’re going on in their careers with generational wealth, doing other things outside of music while keeping music going. My brother and I went through a lot to get to this point. Someone once told me growing up that I ain’t never going to be sh-t and ain’t worth a quarter. But you’ve got to do better than that to break me down. I ain’t breakable like that.”
Slim continued, “It made me want to go hard and work hard, so I’ve got a few more quarters now” as the audience laughed. “Don’t let no one tell you what you cannot do! You do your thing. That’s the only way you’re going to win.” Shouting out several names including Polow da Don, Mannie Fresh, Juvenile, Jeezy, Turk and Wayne, Slim concluded, “I love y’all. Ain’t nobody else alive going to do what we’ve done — ever.”
Kevin Liles, Co-founder & CEO, 300 Entertainment, Lyor Cohen, Global Head of Music, Google & YouTube and LL Cool J attend YouTube Music Leaders and Legends at Nya Studios on June 27, 2024 in Los Angeles.
Johnny Nunez/Getty Images for YouTube
Lil Wayne and Bryan “Baby” Williams attends YouTube Music Leaders and Legends at Nya Studios on June 27, 2024 in Los Angeles.
Johnny Nunez/Getty Images for YouTube
Lil Wayne, Lyor Cohen, Global Head of Music, Google & YouTube and Bryan “Baby” WIlliams attends YouTube Music Leaders and Legends at Nya Studios on June 27, 2024 in Los Angeles.
Johnny Nunez/Getty Images for YouTube
Lana Del Rey and Quavo are giving Americans a new National Anthem to celebrate with this Independence Day. Huncho and Lana set off some fireworks of their own when revealing on Friday (June 28) that their anticipated “Tough” collaboration is slated to arrive on July 3. “Tough 4th Of July,” Quavo captioned the Instagram post […]
The Sean “Diddy” Combs fallout continues in wake of the leaked Cassie assault footage and mounting sexual misconduct lawsuits against him. Diddy has maintained complete innocence in the sexual misconduct and sexual assault lawsuits against him, and he continues to deny all of the allegations.
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According to the Miami Herald, the Miami Beach Commission revoked the Diddy Day recognition dedicated to the Bad Boy mogul on Oct. 13. He received the honor courtesy of Mayor Philip Levine at a REVOLT conference in 2016.
The decision to rescind the recognition was made on Wednesday (June 26) “without discussion.” Diddy has been a staple of the Miami Beach Star Island community where he owns a mansion, which was raided by federal agents alongside his L.A. estate in March.
Earlier in June, Diddy returned his key to New York City after a request from Mayor Eric Adams. Combs sent the key back to Adams’ offices after the mayor received letters asking for it to be sent back to City Hall, and Diddy obliged on June 10.
“I strongly condemn these actions and stand in solidarity with all survivors of domestic and gender-based violence,” Adams wrote at the time in the letters.
Howard University also rescinded an honorary degree that was awarded to Combs and ended a scholarship program in his name following the release of the disturbing video involving Cassie. CNN released surveillance footage in May of Diddy physically abusing Cassie in a Los Angeles hotel outside an elevator bank from March 2016.
Diddy apologized for his behavior, which he says he was “disgusted” by, but ended up deleting the video when clearing his Instagram account last week.
“I was f—ed up. I mean, I hit rock bottom. But I make no excuses,” he said in the since-deleted clip. “My behavior on that video is inexcusable. I take full responsibility for my actions in that video. I’m disgusted. I was disgusted then when I did it, I’m disgusted now.”
Cassie and Diddy dated on-and-off for over a decade from about 2007 through 2018 before calling it quits for good.
The “Me & U” singer filed a sprawling lawsuit against the famed music executive in November accusing him of rape and physical abuse during their time together. The two parties quickly reached a settlement less than 24 hours later. Terms of the deal were not disclosed.
Find a photo of when Diddy was presented with his own day in Miami Beach here.
Mustard is riding high off the success of Kendrick Lamar’s “Not Like Us,” which gave the Cali bounce producer his first Billboard Hot 100 No. 1 hit.
The Los Angeles native pulled up to Billboard News recently to put the whirlwind of the last couple of months into perspective. Mustard was wondering how he was going to pick up a buzz heading into his album, before the Drake-dissing “Not Like Us” seemingly fell out of the sky in May and gave him an ace in the hole.
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Mustard had long wanted to land a placement with Kendrick Lamar to the point that he’d pepper the Compton rap dignitary with five beats at a time on some days.
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“I keep saying it and I can’t say it enough — it’s gotta be God,” Mustard says, crediting a higher power. “What am I gonna do to get myself back hot? … How are we gonna spark to where people are like, ‘I wanna hear Mustard again.’ … Then the song came out. There’s my rollout.”
He continued: “I’ve been literally trying to get a song with him for years… Before I even made that beat, I got to a point where I was like, ‘I’m gonna send five beats a day.’ I maybe sent him five beats a day for maybe three months. I’m still doing it right now just in case he wants to record something. I sent him that beat and then I think that day I would make it a point just to go to the studio to make a couple of beats to send to him.”
Mustard cooked up the “Not Like Us” beat and sent it over to Kendrick in early April before running to his manager’s birthday dinner.
“I started chopping it up and I sped it up and I did the drums and I was like, ‘This is fire.’ … I sent him the beat and I was going to my manager’s birthday party and that was April 6,” he recalled. “He never responded until 12 at night and was like, ‘This is fire.’”
Mustard admitted: “I don’t think I even understood how big it was until it went No. 1 (on the Billboard Hot 100). I was like, ‘This is the biggest song I ever had in my life.’ I just wanted a song with Kendrick.”
The 10 Summers Records boss is rolling into his upcoming album, Faith of a Mustard Seed, which he revealed was named by the late Nipsey Hussle. He continued the album rollout on last Friday (June 21) with the release of “Parking Lot” feat. Travis Scott.
“When I was doing Perfect Ten, I remember the last conversation I had with Nipsey, he was telling me to name that album Faith of a Mustard Seed,” he added. “We talked for hours that night and I always kept that in the back of my head.”
Watch the full 20-minute interview with Mustard below, which also finds him touching on the losses he’s recently endured, how it was to work with legends like Mariah Carey and Rihanna, plus much more.
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06/28/2024
The Houston Hottie’s third album has landed just in time for summer.
06/28/2024
Between a world-stopping Super Bowl performance, an upcoming arena tour, and a very special honor from ASCAP, Usher just keeps finding ways to make 2024 “Good Good.”
On Thursday (June 27) at The London West Hollywood in Beverly Hills, Billboard 200 and Hot 100 chart-topper Usher, decked out in an all-black ensemble and shades, received the Voice of the Culture Award in front of an adoring crowd of peers and press. Victoria Monét, who took home the best new artist Grammy at the top of the year, accepted the prestigious Vanguard Award in a stunning midriff-baring blue dress.
The Voice of the Culture Award is presented to ASCAP members who have had a major influence on music and culture, recognizing their success as creators and changemakers. Past recipients of the award include Timbaland, Swizz Beatz, D-Nice and T.I.
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The Vanguard Award is presented in recognition of ASCAP members whose innovative work is helping to shape the future of music. Janelle Monáe, Kendrick Lamar, The Strokes, and Billie Eilish are past recipients.
The night kicked off with a red carpet on the hotel’s rooftop, which included appearances from Erica Campbell, T.I., Omarion, Ernest Isley, Alex Isley, Deputy, Nascent, Jimmy Jam & Terry Lewis, Johntá Austin, The Avila Brothers, and more. Several stars took a moment to speak with Billboard, including Campbell, who revealed her favorite gospel song from a songwriting standpoint. “What comes to my mind first is ‘Trust In God’ by The Winans,” she said. “The way the song is crafted, the emotions in the song, the lyrics — it’s hopeful but it’s God-centered. Even if it’s a gospel song, it still needs to be well-written and that song is a perfect example.”
Acclaimed father-daughter unit Ernie and Alex Isley also posed for pictures together, with Alex revealing her “holy grail” of R&B songwriting — which included her father, Mariah Carey, Dianne Warren, Michael Jackson and Quincy Jones — and Ernie reflected on working with Lamar on 2015’s To Pimp a Butterfly in light of his recent beef with Drake. “They’re both great,” he said. “It was fun working with [Kendrick,] and I imagine we’re gonna do some more stuff with him not too long from now.”
In that vein, T.I. also reflected on his own diss track legacy, reacting to his No. 15 (“What Up, What’s Haapnin’”) on Billboard’s 15 Most Scathing Hip-Hop Diss Songs of All Time list. “This is a spectator sport, that’s what the spectators said! As a contributor to the culture, I’m just happy to be on people’s minds,” he said, before naming Tupac’s “Hit ‘Em Up,” Nas’ “Ether,” Jay-Z’s “Takeover,” Dr. Dre’s “F–k Wit Dre Day” and Ice Cube’s “No Vaseline” as his picks for the best-written diss tracks in hip-hop history.
Lil Baby — whose “Forever,” “Freestyle,” “Heyy” and “Hurricane” were all cited as winning songs — received the first honor of the night, taking home songwriter of the year for a third non-consecutive year. He previously won in 2021 and 2022. In a speech that lasted under 30 seconds, the chart-topping rapper thanked his team and the ASCAP organization.
Monét offered a lengthier — and notably melodic — acceptance speech when she received her Vanguard Award. After recounting how she looked up the meaning of “vanguard” once her team notified her of the honor, Monét said, “Although I do view myself as a leader… my brilliant team stands right beside me, never behind me. We all have been on the very frontlines together on this road to success meticulously, converting every non-believer into a believer with hard work and consistency. We shoot, not eye level, but for the stars — and it truly takes a strong team to go from underdog to vanguard.”
The Vanguard Award is just the latest in a string of recent honors for Monét. She won three Grammys on Feb. 4 – best new artist, best R&B album for Jaguar II and best engineered album, non-classical, for that same LP. “On My Mama,” a Grammy nominee for record of the year, hit No. 33 on the Hot 100, marking her highest-ranking unaccompanied entry on the chart. On March 6, Monét received the rising star award at the Billboard Women in Music Awards. The “Alright” signer capped off her acceptance speech by promising her daughter (and fellow Grammy nominee) Hazel that she would continue to show up as her best self every day.
Parenthood also served as a key talking point for Usher, who delivered a rousing twelve-minute speech to accept his Voice of the Culture Award. After a pair of touching introductions from ASCAP president Paul Williams and Dupri — who’s currently cooking up new music with Ari Lennox and Young Dylan — Usher took the stage, doling out infinite thanks to the many friends, family members, team members, and mentors who have helped him navigate his groundbreaking 30-year career. “I have a lot of people that I want to thank, but I did want to say something that I felt would be meaningful, and that is the importance of collaboration,” he said. “No one man is an island. We have to work with each other. Sometimes, the vision that we have can be carried all the way across to its full potential if you’re able to share.”
In addition to shouting out his fellow honorees and paying tribute to key players such as L.A. Reid and Mark Pitts, Usher dedicated half of his speech to his two eldest sons, Usher “Cinco” V and Naviyd Ely. Shortly after the “Burn” singer revealed that one of his sons is “really adamant” about being an artist, he reflected on his own experience having an absentee father in the context of helping his son achieve his dreams.
“While we can stand on these stages and say, ‘Mom, I made it,’ it’s not often that we get the opportunity to say ‘Look, dad! I did it!” That s— was hard,” Usher said. “You don’t understand how hard it was to say because the reality is, I was saying it to a father who wasn’t there…. I’m very happy to say to you, continue to love on your kids. Continue to take the time to listen to them, encourage them, and make them a part — if you listen to them, they have very valuable things to say.”
With the Past Present Future Tour fast approaching (Aug. 14) and new music possibly on the horizon — “We got new s— that we makin’ too!” he quipped — Usher’s banner year is showing no signs of slowing down.
The ASCAP Rhythm & Soul Music Awards recognize the songwriters and publishers of the most-performed songs of the past year based on Luminate data for terrestrial and satellite radio and streaming services, as specified by ASCAP Rhythm & Soul Music Awards rules.
Megan Thee Stallion has proven her dedication to both her music and her love for anime with a last-minute twist just days before the release of her third studio album, Megan.
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The Houston rapper took to Instagram Live on Jun. 26 to share some behind-the-scenes drama with her fans, the Hotties, about having to re-record the track “Otaku Hot Girl” due to unexpected clearance issues with a major anime studio.
During her Instagram Live session, Megan explained how she initially recorded “Otaku Hot Girl” without securing the proper clearance for an anime sample she used in the song.
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The Grammy Award-winning artist didn’t reveal which anime series or studio was involved, but she assured fans that the sample would be instantly recognizable.
“Y’all will never believe what the motherf**k just happened to me!” Megan exclaimed to her followers.
“Y’all know how I told y’all I got an anime sample on my album. I recorded the song before I asked for clearance, so when I sent the people the song, they was like…” Megan paused dramatically, then detailed the studio’s stipulations: she had to change some of the lyrics and was not allowed to cosplay any characters in the music video.
The demands didn’t stop there.
Megan shared that the studio later requested the removal of all character names from the song, which presented a significant challenge since the names were crucial to the lyrics.
Despite the frustration, Megan re-recorded the track in a makeshift studio just hours before her June 11 Dallas show.
“The music is what’s really important to me, but the names really tied it all together,” she explained.
Megan’s determination paid off, and she expressed her gratitude towards the studio for eventually granting the clearance. “I really hope y’all think this s**t sound fire, ’cause I had to jump through eight million hoops to get this s**t,” she added.
“Otaku Hot Girl” is one of 18 tracks on Megan’s upcoming album, which includes the singles “Cobra,” “Hiss,” and “Boa,” as well as collaborations with artists like Kyle Richh, GloRilla, UGK, and Victoria Monét.
The album follows nearly two years after her sophomore release, Traumazine.
Megan Thee Stallion’s new album, Megan, dropped on June 28.
Chance the Rapper has just dropped a major update on his upcoming release, Star Line, and it’s the news fans have been waiting for.
In a recent chat with Complex, the Chicago native revealed that his next studio project is about 83 percent complete, bringing us one step closer to hearing what he’s been working on.
Initially, Chance estimated the collection was 85 percent done but quickly adjusted his estimate.
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“That’s a little generous. I’ma say 83. 83.5, 82.7, you know what I’m saying? We’re living in the project right now,” he joked, giving fans a peek into his creative process.
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Reflecting on the journey from his debut album The Big Day (2019) to Star Line, Chance shared how different this experience has been.
“For my last project, I’d just gotten married, I just had a baby, I was about to separate from my management. Like, I had so many things going on. Now, it’s not like there isn’t a lot going on, but I’m really able to enjoy the creative process and be 100 percent myself.”
Star Line draws inspiration from Marcus Garvey’s historic Black Star Line, a shipping company aimed at connecting the global Black diaspora in the early 1900s.
Chance elaborated on this during a 2022 interview with Sway.
“He started and ran this very important, integral shipping line. He had a fleet of ships, these giant ocean liners which are the size of cruise ships, that he owned and funded with common Black folks’ money.”
Garvey’s vision of global Black connectivity deeply resonates with Chance, who aims to channel that spirit into his music. “When I think about the Black Star Line and all the spaces that it’s been in, the black star [on the line’s flag] is [also] the representation of Ghana, in their flag, in the fabric of how their country was set up,” he said.
“They believe in global Blackness, Black connectivity and a free Africa.”
Although the album was initially slated for a Spring 2024 release, Chance hasn’t confirmed a new date yet.
To keep fans engaged, he dropped “Together,” produced by DJ Premier, in May, and “Buried Alive” in April, a track that touches on his recent divorce and legal battles with his ex-manager.
In Buried Alive, Chance gets real with lines like, “Where’s his money now? Where his wife at?/ Where his manager? Where his hype at?/ Then they threw the dirt on the casket,” showcasing his raw, introspective side.
Earlier this year, Chance posted an IG Reel of “Buried Alive,” asking fans if he should drop a video. The clips he’s shared of his new direction have featured a darker tone, with black backgrounds and white subtitles, addressing the drama he’s faced since The Big Day.
“I’m really able to revel in the creative process and put everything into that and be 100 percent myself and present in the now,” he said.